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[Review] ‘Anthem’ is a Messy MMO Shooter That’s Still Satisfying to Play

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Does Bioware’s loot-shootin‘ baby deliver on its Iron Man power fantasy? Our Anthem review tells you how its technical flaws are softened by its stellar combat and flying.

I like Anthem much more than the 3.5 Skulls out of 5 I’m going to give it at the bottom of this review may suggest. On a 1-10 scale, that’s a 7, which— as someone who reads and writes a lot of game reviews— I know suggests a pretty average, maybe mediocre, experience. That’s not how I feel about Anthem.

BioWare’s rootin’, tootin’, lootin’, shootin’ answer to Destiny is a triumph of game feel. While the famed RPG developer has historically been known for gripping, choice-driven narratives that feel pretty meh to play, with Anthem, the teams at BioWare have outdone themselves, delivering an exhilarating roller-coaster ride of soaring and shooting. Minute-to-minute, Anthem feels as good as an Iron Man-simulator should feel.

And you are this particular Iron Man or Woman, the pilot of a fully customizable flying exosuit, and a gun for hire (known here as a “freelancer”) helping to keep safe the citizens who call the game’s hub world, Fort Tarsis, home. Most of your time in-game will be spent beyond the walls of the fort, taking on missions, contracts, and strongholds in the lush green world of Bastion.

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I never got tired of exploring Anthem’s world. Taking to the skies is simple and intuitive, and the javelin’s tendency to overheat pushes you to look for outcroppings to run along and waterfalls to fly beneath. When your health ticks down into the red, flight also provide for exciting escapes. When the big bad Dominion’s forces are overwhelming, ejecting to the sky above the battle’s fray provides all the functionality of getting into cover, but without slowing the frantic pace. From this vantage point, you can switch from flying to hovering, firing down at enemies’ weak spots from beyond their grasp.

And, the shooting, from whatever angle, feels extremely good. After plenty of time playing Fortnite, it’s refreshing to hop into an online third-person shooter that feels tactile and crunchy to play. While Anthem’s roster of weapons is severely limited when compared with other shared world shooters like Destiny, the firearms that currently occupy the armory are all fun to use. Shotguns, assault rifles, snipers and pistols all have a satisfying punchiness.

That shooting is supplemented by javelin-specific abilities. Over the course of Anthem’s campaign, you’ll have the opportunity to unlock four different javelin classes. The Ranger is a sturdy all-arounder; a base model javelin to learn the basics with (who, not coincidentally, you’ll inhabit for the tutorial mission). My favorite, the Interceptor, is swift death, melee-oriented greased lightning that unleashes a flurry of blows for its Ultimate ability. The mighty Colossus is slow-moving but powerful, with a lengthy health bar and a physical shield it can heft to hold off enemy attacks. And the Storm is a mage-like mech with the ability to summon elemental attacks, raining down lightning, fire, and ice on any opponent foolish enough to get in its way. Each suit feels significantly different, and the fact that one player can unlock all four—rather than having to start the campaign over as a different class—makes it easy to experiment and find the right fit.

Combat and flight— frequently nestled together as snugly as a freelancer in their metal death suit—form the beating heart of Anthem. Unfortunately, BioWare doesn’t do nearly enough to vary the activities you use these verbs to accomplish. Probably 90 percent of the missions in Anthem follow a nearly identical formula: fly to a location, fight a ton of enemies who are almost always arranged in an arena-style circle around you, then collect the loot that the big ones drop at the end of the fight. There are variations—gather some items while you fight the enemies; fight the enemies then move to a different area and fight some more enemies—but, by and large, Anthem relies on the same structure over and over again.

Watch Neill Blomkamp’s Anthem short film

As a result, I forgot most of Anthem’s missions the second they ended. Some, like the first and final missions of the campaign, drop you in unique settings, which provides a welcome change. But, most are memorable, not because of anything that happens on the sortie, but rather, because of the story beats that bookend them.

Generally, that story—communicated through buzzy voices in your headset during missions, and through first-person cut scenes back at the fort—worked for me. There are problems—it relies overmuch on the player’s codex to explain the backgrounds behind all the Proper Nouns it evokes; the player character is less malleable than past BioWare protagonists, and about as interesting as a silent protagonist; your choices are effectively meaningless—but, generally, it does a solid job of telling an epic science fantasy story with a cast of characters that I mostly liked. While the overarching story is sometimes hard to follow, I found it easy to get invested in the personal drama.

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But, no matter how much I like what Anthem is doing, plentiful bugs still seem to be keeping many players from experiencing it. The problems that hamstrung the game’s demo—defined mostly by server issues which rendered it unplayable for many players—have mostly been resolved. But, they left new issues in their wake. One of the random players I tackled the second-to-last mission with said that he had attempted it three times prior but had been unable to progress because of glitches. Sure enough, during our run, we encountered a bug that prevented the mission from loading correctly, resulting in the game sending endless (genuinely endless) waves of enemies at us without offering a way to progress. I started experimenting because I didn’t want to replay the lengthy mission from the beginning, and found that if I let myself die, it reloaded our squad into the mission at the right point. This moment was satisfying; not because the game was working correctly, but because I was able to overcome the game’s brokenness.

My hope is that BioWare, too, will be able to overcome the ways that their game is broken. Since that demo, Anthem has steadily grown more stable. Some issues, though—like the repetitive mission structure—run deeper than glitchiness. But, Anthem’s core mechanics are satisfying, its world is enticing and its characters, by and large, are charming. With this review done, I will continue to play it. I want Anthem to get better, and I only hope that EA will give BioWare the time and resources to make this game as good as it can be.

As it stands, it’s still worth a shot.

Anthem review code for PC provided by the publisher.

Anthem is out now on PS4, Xbox One, and PC.

Reviews

“AHS: Delicate” Review – “Little Gold Man” Mixes Oscar Fever & Baby Fever into the Perfect Product

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American Horror Story Season 12 Episode 8 Mia Farrow

‘AHS: Delicate’ enters early labor with a fun, frenzied episode that finds the perfect tone and goes for broke as its water breaks.

“I’ll figure it out. Women always do.”

American Horror Story is no stranger to remixing real-life history with ludicrous, heightened Murphy-isms, whether it’s AHS: 1984’s incorporation of Richard Ramirez, AHS: Cult’s use of Valerie Solanas, or AHS: Coven’s prominent role for the Axeman of New Orleans. Accordingly, it’s very much par for the course for AHS: Delicate to riff on other pop culture touchstones and infinitely warp them to its wicked whims. That being said, it takes real guts to do a postmodern feminist version of Rosemary’s Baby and then actually put Mia Farrow – while she’s filming Rosemary’s Baby, no less – into the narrative. This is the type of gonzo bullshit that I want out of American Horror Story! Sharon Tate even shows up for a minute because why the hell not? Make no mistake, this is completely absurd, but the right kind of campy absurdity that’s consistently been in American Horror Story’s wheelhouse since its inception. It’s a wild introduction that sets up an Oscar-centric AHS: Delicate episode for success. “Little Gold Man” is a chaotic episode that’s worth its weight in gold and starts to bring this contentious season home. 

It’d be one thing if “Little Gold Man” just featured a brief detour to 1967 so that this season of pregnancy horror could cross off Rosemary’s Baby from its checklist. AHS: Delicate gets more ambitious with its revisionist history and goes so far as to say that Mia Farrow and Anna Victoria Alcott are similarly plagued. “Little Gold Man” intentionally gives Frank Sinatra dialogue that’s basically verbatim from Dex Harding Sr., which indicates that this demonic curse has been ruffling Hollywood’s feathers for the better part of a century. Anna Victoria Alcott’s Oscar-nominated feature film, The Auteur, is evidently no different than Rosemary’s Baby. It’s merely Satanic forces’ latest attempt to cultivate the “perfect product.” “Little Gold Man” even implies that the only reason that Mia Farrow didn’t go on to make waves at the 1969 Academy Awards and ends up with her twisted lot in life is because she couldn’t properly commit to Siobhan’s scheme, unlike Anna.

This is easily one of American Horror Story’s more ridiculous cold opens, but there’s a lot of love for the horror genre and Hollywood that pumps through its veins. If Hollywood needs to be a part of AHS: Delicate’s story then this is actually the perfect connective tissue. On that note, Claire DeJean plays Sharon Tate in “Little Gold Man” and does fine work with the brief scene. However, it would have been a nice, subtle nod of continuity if AHS: Delicate brought back Rachel Roberts who previously portrayed Tate in AHS: Cult. “Little Gold Man” still makes its point and to echo a famous line from Jennifer Lynch’s father’s television masterpiece: “It is happening again.”

“Little Gold Man” is rich in sequences where Anna just rides the waves of success and enjoys her blossoming fame. She feels empowered and begins to finally take control of her life, rather than let it push her around and get under her skin like a gestating fetus. Anna’s success coincides with a colossal exposition dump from Tavi Gevinson’s Cora, a character who’s been absent for so long that we were all seemingly meant to forget that she was ever someone who was supposed to be significant. Cora has apparently been the one pulling many of Anna’s strings all along as she goes Single White Female, rather than Anna having a case of Repulsion. It’s an explanation that oddly works and feeds into the episode’s more general message of dreams becoming nightmares. Cora continuing to stay aligned with Dr. Hill because she has student loans is also somehow, tragically the perfect explanation for her abhorrent behavior. It’s not the most outlandish series of events in an episode that also briefly gives Anna alligator legs and makes Emma Roberts and Kim Kardashian kiss.

American Horror Story Season 12 Episode 8 Cora In Cloak

“Little Gold Man” often feels like it hits the fast-forward button as it delivers more answers, much in the same vein as last week’s “Ava Hestia.” These episodes are two sides of the same coin and it’s surely no coincidence that they’re both directed by Jennifer Lynch. This season has benefitted from being entirely written by Halley Feiffer – a first for the series – but it’s unfortunate that Lynch couldn’t direct every episode of AHS: Delicate instead of just four out of nine entries. That’s not to say that a version of this season that was unilaterally directed by Lynch would have been without its issues. However, it’s likely that there’d be a better sense of synergy across the season with fewer redundancies. She’s responsible for the best episodes of AHS: Delicate and it’s a disappointment that she won’t be the one who closes the season out in next week’s finale.

To this point, “Little Gold Man” utilizes immaculate pacing that helps this episode breeze by. Anna’s Oscar nomination and the awards ceremony are in the same episode, whereas it feels like “Part 1” of the season would have spaced these events out over four or five episodes. This frenzied tempo works in “Little Gold Man’s” favor as AHS: Delicate speed-runs to its finish instead of getting lost in laborious plotting and unnecessary storytelling. This is how the entire season should have been. Although it’s also worth pointing out that this is by far the shortest episode of American Horror Story to date at only 34 minutes. It’s a shame that the season’s strongest entries have also been the ones with the least amount of content. There could have been a whole other act to “Little Gold Man,” or at the least, a substantially longer cold open that got more out of its Mia Farrow mayhem. 

“Little Gold Man” is an American Horror Story episode that does everything right, but is still forced to contend with three-quarters of a subpar season. “Part 2” of AHS: Delicate actually helps the season’s first five episodes shine brighter in retrospect and this will definitely be a season that benefits from one long binge that doesn’t have a six-month break in the middle. Unfortunately, anyone who’s already watched it once will likely not feel compelled to experience these labor pains a second time over. With one episode to go and Anna’s potential demon offspring ready to greet the world, AHS: Delicate is poised to deliver one hell of a finale.

Although, to paraphrase Frank Sinatra, “How do you expect to be a good conclusion if this is what you’re chasing?” 

4 out of 5 skulls

American Horror Story Season 12 Episode 9 Anna Siobhan Kiss

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